CONTENTS.

CHAPTER I.

INTRODUCTORY.

I. Method of Inquiry-Chronological Limits-Unity of the Subject.

-II. Three Stages in Evolution of the Drama-Stage of Pre-

paration and Formation-Closed by Marlowe-Stage of perfectly

developed Type-Character of Shakspere's Art-Jonson and

Fletcher-Stage of Gradual Decline.-III. The Law of Artistic

Evolution-Illustrations from Gothic Architecture, Greek Drama,

Italian Painting.—IV. The Problem for Criticism—In Biography

-In History-Shakspere personifies English Genius in his Cen-

tury-Criticism has to demonstrate this.-V. Chronology is

scarcely helpful-Complexity of the Subject-Imperfection of

our Drama as a Work of Art-Abundance of Materials for Study-

ing all Three Stages-Unique Richness of our Dramatic Litera-

ture. VI. Shakspere's Relation to his Age-To his Predeces-

sors-To his Successors.-VII. Double Direction of English

Literary Art-Jonson, Milton, Dryden, Pope-Spirit of the Eliza-

bethan Epoch.-VIII. The Elizabethan Inspiration is exhausted

in the Reign of Charles I.-Dramatists of the Restoration-Rise

of the Novel-Place of Novelists in the Victorian Age

CHAPTER II.

THE NATION AND THE DRAMA.

I. The Function of a Great Drama-To be both National and Uni-

versal-How that of England fulfilled this-England and the

Renaissance-Fifty Years of Mental Activity.-II. Transitional

Character of that Age in England.-III. Youthfulness-Turbu-

lence-Marked Personality. IV. The Italians of the Renaissance

-Cellini.-V. Distinguishing Characteristics of the English---

Superior Moral Qualities-Travelling-Rudeness of Society-

The Medley of the Age.-VI. How the Drama represented

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Society Determination of the Romantic Species-Its Specific

Quality Materials of Plays-Heywood's Boast.-VII. Imperfec-

tions of the Romantic Style.-VIII. Treatment of Character-

Violent Changes-Types of Evil-Fantastic Horrors. IX. In-

sanity.-X. Meditations upon Death.-XI. Sombre Philosophy

of Life Melancholy-Religious Feeling.-XII. Blending of Gay

with Grave-Types of Female Character-Boy-Actors.-XIII.

Comedy of Life and of Imagination-Shaksperian Comedy--

Fletcher's Romantic Comedy and Comedy of Intrigue-

Hybrids between Pastoral and Allegory-Farce-Comedy of

Manners-Jonson.-XIV. Questions for Criticism.—XV. Three

Main Points relating to English Drama.-XVI. National

Public-England compared with Italy, France, Spain.-XVII.

English Poetry-Mr. M. Arnold on Literatures of Genius and

Intelligence The Inheritors of Elizabethan Poetry.-XVIII.

Unimpeded Freedom of Development-Absence of Academies—

No Interference from Government-The Dramatic Art considered

as a Trade and a Tradition.-XIX. Dramatic Clairvoyance

--Insight into Human Nature-Insight into Dramatic Method.

-XX. The Morality of the Elizabethan Drama.-XXI. Its

Importance in Educating the People-In Stimulating Patriotism

-Contrast with the Drama of the Restoration.-XXII. Im-

provement of the Language-Variety of Styles-Creation of

Blank Verse.-XXIII. History of Opinion on the Drama-De

Quincey's Panegyric

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CHAPTER III.

MIRACLE PLAYS.

I. Emergence of the Drama from the Mystery-Ecclesiastical

Condemnation of Theatres and Players-Obscure Survival of

Mimes from Pagan Times-Their Place in Medieval Society.

-II. Hroswitha-Liturgical Drama.-III. Transition to the

Mystery or Miracle Play-Ludi—Italian Sacre Rappresentazioni

-Spanish Auto-French Mystère-English Miracle.-IV. Pas-

sage of the Miracle from the Clergy to the People-From Latin

to the Vulgar Tongue-Gradual Emergence of Secular Drama.

-V. Three English Cycles-Origin of the Chester Plays-Of

the Coventry Plays-Differences between the Three Sets-Other

Places famous for Sacred Plays. VI. Methods of Representa-

tion -Pageant-Procession-Italian, French, and Spanish Pecu-

liarities-The Guilds-Cost of the Show-Concourse of People-

Stage Effects and Properties.-VII. Relation of the Miracle to

Medieval Art-Materialistic Realism--Place in the Cathedral-

Effect upon the Audience.-VIII. Dramatic Elements in the

Miracles-Tragedy-Pathos-Melodrama-Herod and the Devil

-IX. Realistic Comedy-Joseph-Noah's Wife-The Nativity

-Pastoral Interludes.-X. Transcripts from Common Life—

Satire The Woman Taken in Adultery-Mixture of the Sacred

and the Grotesque.-XI. The Art of the Miracles and the Art

of Italian Sacri Monti .

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CHAPTER IV.

MORAL PLAYS.

I. Development of Minor Religious Plays from the Cyclical

Miracle--Intermediate Forms between Miracle and Drama --

Allegory and Personification.-II. Allegories in the Miracle---

Detached from the Miracle-Medieval Contrasti, Dialogi, and

Disputationes-Emergence of the Morality-Its essentially

Transitional Character.-III. Stock Personages in Moral Plays

-Devil and Vice-The Vice and the Clown.-IV. Stock Argu-

ment-Protestant and Catholic-Mundus et Infans.'-V. The

'Castle of Perseverance'-'Lusty Juventus' Youth.'—VI.

'Hick Scorner'-A real Person introduced-' New Custom'-

'Trial of Treasure'' Like will to Like.'-VII. ' 'Everyman

The Allegorical Importance of this Piece.-VIII. Moral Plays

with an Attempt at Plot- Marriage of Wit and Wisdom'--

'Marriage of Wit and Science'-'The Four Elements '-' Micro-

cosmus.'-IX. Advance in Dramatic Quality-The Nice Wanton'

'The Disobedient Child.'-X. How Moral Plays were Acted—

Passage from the old Play of 'Sir Thomas More.'-XI. Hybrids

between Moral Plays and Drama-‘King Johan'-Mixture of

History and Allegory-The Vice in Appius and Virginia '-In

'Cambyses'
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CHAPTER V.

THE RISE OF COMEDY.

I. Specific Nature of the Interlude-John Heywood-The Farce

of 'Johan the Husband'-'The Pardoner and the Friar.'-II.

Heywood's Life and Character.-III. Analysis of 'The Four P's'

-Chaucerian Qualities of Heywood's Talent.-IV. Nicholas

Udall and 'Ralph Roister Doister'-Its Debt to Latin Comedy.

-V. John Still-Was He the Author of 'Gammer Gurton's

Needle'?-Farcical Character of this Piece-Diccon the Bedlam.

-VI. Reasons for the Early Development of Comedy.

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CHAPTER VI.

THE RISE OF TRAGEDY.

I. Classical Influence in England-The Revival of Learning-Eng-

lish Humanism-Ascham's 'Schoolmaster '-Italian Examples.—

II. The Italian Drama-Paramount Authority of Seneca -Cha-

racter of Seneca's Plays.-III. English Translations of Seneca-

English Translations of Italian Plays.-IV. English Adaptations

of the Latin Tragedy-Lord Brooke-Samuel Daniel-Trans-

lations from the French-Latin Tragedies--False Dramatic

Theory.-V. 'Gorboduc'—Sir Philip Sidney's Eulogy of it-Lives

of Sackville and Norton-General Character of this Tragedy-

Its Argument-Distribution of Material-Chorus-Dumb Show-

The Actors-Use of Blank Verse.-VI. The Misfortunes of

Arthur'-Thomas Hughes and Francis Bacon-The Plot-Its

Adaptation to the Græco-Roman Style of Tragedy-Part of

Guenevora-The Ghost-Advance on Gorboduc' in Dramatic

Force and Versification.-VII. Failure of this Pseudo-Classical

Attempt-What it effected for English Tragedy.

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CHAPTER VII.

TRIUMPH OF THE ROMANTIC DRAMA.

I. Fifty-two Plays at Court-Analysis of their Subjects—The

Court follows the Taste of the People-The 'Damon and Pithias'

of Edwards-' Romeo and Juliet '—' Tancred' and 'Gismunda ’—

'Promos and Cassandra.'-II. Contemporary Criticisms of the

Romantic Style-Gosson -Whetstone-Sidney.-III. Descrip-

tion of the English Popular Play-The Florentine Farsa-

Destinies of this Form in England

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CHAPTER VIII.

THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS.

I. Servants of the Nobility become Players-Statutes of Edward VI.

and Mary-Statutes of Elizabeth-Licences.-II. Elizabeth's and

Leicester's Patronage of the Stage-Royal Patent of 1574-Master

of the Revels-Contest between the Corporation of London and

the Privy Council.-III. The Prosecution of this Contest-Plays

Forbidden within the City-Establishment of Theatres in the

Suburbs-Hostility of the Clergy.-IV. Acting becomes a Pro-

fession-Theatres are Multiplied-Building of the Globe and

Fortune-Internal Arrangements of Playhouses-Interest of the

Court in Encouragement of Acting Companies.-V. Public and

Private Theatres-Entrance Prices-Habits of the Audience.-VI.

Absence of Scenery-Simplicity of Stage-Wardrobe-Library

of Theatres.-VII. Prices given for Plays-Henslowe-Benefit

Nights-Collaboration and Manufacture of Plays.-VIII. Boy-

Actors-Northbrooke on Plays at School-The Choristers of

Chapel Royal, Windsor, Paul's-Popularity of the Boys at

Blackfriars-Female Parts-The Education of Actors.-IX. Pay-

ment to various Classes of Actors-Sharers-Apprentices-Re-

ceipts from Court Performances-Service of Nobility-Strolling

Companies-Comparative Dishonour of the Profession.-X.

Taverns-Bad Company at Theatres-Gosson and Stubbes upon

the Manners of Playgoers-Women of the Town-Cranley's

‘Amanda.'—XI. 'The Young Gallant's Whirligig'-Jonson's

Fitzdottrel at the Play.-XII. Comparison of the London and

the Attic Theatres.

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CHAPTER IX.

MASQUES AT COURT.

I. Definition of the Masque-Its Courtly Character-Its Partial

Influence over the Regular Drama.—II. Its Italian Origin.—III.

Masques at Rome in 1474-At Ferrara in 1502-Morris Dances-

At Urbino in 1513-Triumphal Cars.-IV. Florentine Trionfi-

Machinery and Engines--The Marriage Festivals of Florence in

1565-Play and Masques of Cupid and Psyche The Masque of

Dreams-Marriage Festival of Bianca Capello in 1579.-V.

Reception of Henri III. at Venice in 1574-His Passage from

Murano to San Niccolò on Lido.-VI. The Masque transported

to England-At the Court of Henry VIII. and Elizabeth—

Development in the Reign of James I.-Specific Character of

the English Masque-The Share of Poetry in its Success.-VII.

Ben Jonson and Inigo Jones-Italian and English Artists-The

Cost of Masques.-VIII. Prose Descriptions of Masques-Jonson's

Libretti-His Quarrels with Jones-Architect versus Poet-IX.

Royal Performers-Professionals in the Anti-Masque.-X. Variety

of Jonson's Masques-Their Names Their Subjects-Their

Lyric Poetry.-XI. Feeling for Pastoral Beauty-Pan's Anni-

versary.-XII. The Masque of Beauty-Prince Henry's Barriers

-Masque of Oberon.-XIII. Royal and Noble Actors-Lady

Arabella Stuart-Prince Henry-Duke Charles-The Earl and

Countess of Essex-Tragic Irony and Pathos of the Masques at

Court.-XIV. Effect of Masques upon the Drama--Use of them

by Shakspere and Fletcher-By Marston and Tourneur-Their

great Popularity-Milton's Partiality for Masques-The Arcades'

and 'Comus'

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